* M.*

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Ornaments of the bribes

Ornaments of the bribes

m

Anthropological Survey of India Ministry of Tourism and Culture

Department of Culture Government of India

27, Jawaharlal Nehru Road Kolkata- 700 016

No. 0.105

Published in July, 2003 I S B N No. 81-85579-81-4 (C) 2003 Anthropological Survey of India

Published by Director Anthropological Survey of India 27, Jawaharlal Nehru Road Kolkata- 700 016

Printed by Print & Crafts 24/1-A, Budhu Ostagar Lane Kolkata - 700 009

Sketches / Cover design Gopa Chakrabarti

Cover Banjara woman with her ornaments

Price : Rs. 250.00 ; $ 75.00

Without the expressed permission from the Director, Anthropological Survey of India, Government of India no portion of this publication can be reproduced partly or wholly.

FOREWORD

Human being, since the prehistoric period have expressed their love and passion for self¬

adornment by various means. While the hunting and gathering Negrito tribes of Andaman

Islands, who are still pursuing the ancient culture, adorn their bodies with clay, flower, shells,

leaves and many such other items, the tribes in the mainland of India, living in close contact

with the non-tribal population, decorate themselves with several types of ornaments made

either by themselves or by their neighbouring communities. The raw materials, craftsmanship,

technology artistic skill, which give the ultimate shape to an ornament, depict the finer aspects

of culture of the members of a society. The Anthropological Survey of India has taken a

programme to bring out a series of Coffee Table Book as a part of its documentation programme.

The present work entitled Alankar : Ornaments of the Tribes written by Dr (Mrs) Gopa

Chakrabarti, is an appreciable documentation of the necklaces used by the tribes, the latter’s

aesthetic sense and creative excellence, besides their nature of interdependence with both

the tribes and non-tribes, living in diverse situation in India. I hope this small but informative

publication would draw the attention of both the scholars and general readers.

28.05.2003

J K Sarkar

Director-in-Charge

Anthropological Survey of India

Introduction 7

Alankar

Wild seed necklace 9

Clay necklace 10

Cowrie necklace 11

Shell necklace 12-13

Claws, tusks and teeth necklace 14-16

Glass bead necklace 17-21

Metal necklace 22-36

Acknowledgement

Digitized by the Internet Archive in 2018 with funding from

Public.Resource.org

https://archive.org/details/alankarornamentsOOchak

Introduction

The innate passion for love and beauty might have inspired the early man for decorative

self-adornment. The genesis of using ornament can perhaps be traced back to the prehistoric period.

The colourful flowers, foliage, charming wings of insects, feathers of birds, glittering stones and other

such earthly objects in their immediate environments might have inspired them to use such resources

for beautification of parts of their body. Even the faunal materials like the bones, teeth, claws, shells

of different size and colours were used for the same purpose. Some of these ornaments were also

used to drive away evil spirits supposedly encircling them. With very simple technology of joining or

threading the different objects by barks, twigs they used to prepare varied types of ornaments to

adorn themselves. These artistic assemblages also carried an aesthetic touch in such adoration. The

continuity of self-adornment can be observed through the several proto historical and historical

archaeological findings of statuettes, images and of the temple architectures. Even the Vedic

literatures, epics, mythological stories have described the various stylistic ornaments used by both

the men and women of those periods. In course of time, the continuity of the age-old practice of

making ornaments have reached it's zenith through the introduction of new technology, skill and use

of different raw materials to make various ornaments of stylistic patterns, motifs and designs.

The tribes of India in general are very fond of wearing ornaments. Both the male and the

female wear ornaments that vary according to the availability of the raw materials in their immediate

ecological environment. The motifs, design and style of making ornaments also depend on their

socio-cultural and religious background. Neck ornament has a special importance to them. It conveys

certain symbolic representations of social and magico-religious significances.

Some neck ornaments bear especial status and are used on particular occasion. For example,

the Angamis and the Ao Nagas of Nagaland, use wooden or metal pendants or necklaces with

human head motif as a symbol of head hunting status. The Rabari women of Gujarat, desirous of

having children, use necklaces of silver or gold plaques with the engravings of mythological

creatures. Trimani, a necklace of gold beads threaded on a black cord, is the marriage symbol of

Kinnauris of Himachal Pradesh. The Kuravans of Tamil Nadu use Kurathi, a neck ornament

consisting of a pendant encased in tiger claws to gain the strength of tiger.

The multiple variation in designs and motifs of the neck ornaments signify the ethnic identity of

the particular tribe. For example, Halaqaband, a typical neckband used by the Kashmiri women. It is

made of white metal or silver bands designed with geometric or floral motifs. These bands are joined

together by welding and two ends are tied with coloured string. The gold and silver pendants,

embossed with turquoise, coral, amber or imitation stones are also very popular among them. The

knee length Kachong, a typical coin necklace is the pride of the Kinnauris women of Himachal

Pradesh. A unique three strands silver alloy necklace Galapatta, is very popular among the Pangi

women of Himachal Pradesh.

The wide range of neck ornaments of the tribes cover a variety of materials like jungle seeds,

bark, jute, cane, grass, cotton, leaves, clay, wood, glass beads, bones, teeth, claws, beaks, shells

and also the precious stones, white metal, silver, brass, gold metals, etc. Very simple technology is

applied to arrange those items in certain definite order to make unique designs and motifs that varies

from simple dot to line, geometric and floral designs. The perforated glass beads, shells, cowries

and seeds are simply threaded to a cord or fiber to make neck ornament. The complicated designs,

representing the anthropomorphic, zoomorphic and mythological figurines and embossing stones on

the metals are done by soldering. They usually follow cire-perdue or lost wax method of metal

casting to make metal ornaments.

Generally the tribal people make their own ornaments. Now a days they procure coloured

glass beads, cotton, jute thread, shells from the local market and make neck ornaments by threading

or designing those objects as per their own choice. The local goldsmith or metal smiths also prepare

some neck ornaments of metal or metal alloys and engrave motifs or emboss on stones as per the

desire and requirement of their tribal customers. Some especial types of neck ornament are very

common to them such as coin necklaces, solid metal neckband, threaded metal sticks, beads, chains

or wire of metal alloys, engraved pendants, coloured glass bead necklaces, cowries tusks, teeth and

shell necklaces or cotton or bark cords, etc.

The wide varieties of necklaces of the tribes portary a vast range of creativity of the simple

people with their indigenous technology that bears definite aesthetic touch. The skill and the

excellence shown by these people reflect their definite contribution in building up the multiplex

culture of the tribe of this country.

8

Wild seed necklace

Stringing the dried wild seeds

to bark fibre or cotton thread, or

utilizing the fibres of the plants, jungle

leaves or grass to make necklaces

might have prehistoric origin. It is still

found among the Cholanayakans of

Kerala; Jarawa, Onge, Andamanese,

Shompens of Andaman and Nicobar

Island, Juangs of Orissa.

Wild seed necklace Cholanayakan, Kerala

Living in the midst of nature,

the Cholanayakans adorn themselves

with the objects procured from their

immediate ecological environment.

They make this necklace from wild

fruit seeds. The dried seeds are

threaded to a bark fiber string to make

20 inches long bead necklace. Both

the men and women wear this

necklace.

9

Clay necklace

The making of clay

necklaces is regarded as the

archaic traditional craft of ancient

India. Still it is very popular among

some of the tribes of India, like

the Juangs, Omanatyas of Orissa.

The clay beads of various shapes

are prepared and for threading,

a perforation is made at the centre

by inserting stick. Then they bake

those beads and string together

in an orderly sequence to make

beatiful necklaces. The clay is

regarded as the sacred material

associated with the mother cult.

Clay girdle Juang, Orissa

10

This is a very rare piece

of three strands clay bead

girdle used by the Juangs in

the early 1930ths. Long clay

strands are prepared inserting

fine wood sticks along the

centres of those strands. Then

fine grooving are made on

those strands as per the

required size of the beads

and baked in the oven. When

those are fully baked, the

inside sticks are transformed

into ashes leaving a hole.

Small beads are acquired by

breaking the strands at the

grooving points and polishing

by iron knife. These clay

beads are threaded to jute

fiber to make the girdle.

Cowrie necklace

The cowrie necklaces are

very common among the

Jarawas, Sentinelese of

Andaman and Nicobar Islands,

Murias, Marias of Chattisgarh,

Rabaris, Banjaras of Gujarat

and Rajasthan. Various types

of cowrie neckbands and

necklaces, studded with glass

or metal beads are the usual

neck ornaments of the Zemi

Nagas and Serna Nagas of the

Cachar mountains and of

Nagaland respectively.

Cowrie necklace

Muria, Chhattisgarh

This beautiful necklace

is made of cowries. Tiny holes

are drilled at the upper end

of the cowrie through which

the cord is inserted to make

this necklace. They procure

the cowries from the local

market, traded from Andhra

Pradesh or Orissa. Both the

male and the female wear this

ornament.

11

Shell necklace

Tiny dentalium shell necklace,

Khorache, is the popular neck

ornament of the Onge, Jarawa and

Andamanese tribes of Andaman and

Nicobar Islands. The several Naga

groups of Nagaland and the Kukis

of Manipur procure varieties of shells

traded from southern India, West

Bengal and Orissa. They make

various necklaces either by stringing

the shells directly or by giving artistic

touch to those shells with geometric

and anthropomorphic figures by poker

work, i.e. making tiny perforation with

sharp needle and colouring it with

the fume of burning vegetable shoots.

Heavy conch shell necklaces studded

with glass beads or shell sticks are

very much popular among the Nagas

of Nagaland, Khamtis, Sherdukpen,

Apatanis of Arunachal Pradesh. The

seashells are regarded as the symbol

of fertility.

This gorgeous necklace is made

of reddish orange glass beads. The

centrally placed oval shell pendant is

designed with an abstract human figure,

done by pokerwork. The necklace

symbolizes the status of the head hunter.

Shell necklace

Nagas, Nagaland

The Nodes are very

fond of wearing tiny shell

necklaces. This necklace is

simply prepared by threading

the tiny shells in an orderly

sequence. They procure the

shells from the local market.

Shell necklace

Nocte, Arunachal Pradesh

Conch shell neck ornament

Angami Naga, Nagaland

This unique piece of necklace is designed with rows of

red, black and yellow stone and glass beads interwoven with

sticks of polished shells and bone spacers. Three large

conch shells are joined to support the necklace at the back

of neck. This necklace is associated with the beliefs of

fertility.

13

Claws, tusks and teeth necklace

Various faunal materials like

the teeth, claws, beaks, bones and

tusks are used by the tribes as

locket, pendant or as the joining

parts of the necklaces. These

materials are supposed to have

certain powers. These are

generally used as amulets.

Boar tusk necklace

Banjara, Rajasthan

This beautifully designed

necklace is made of boar's tusk,

cane and bark thread. Two pairs of

boar's tusks are arranged in two

rows and are fastened with cane

stripes and bark thread. A bark

cord is inserted through the hook

of the upper row for fastening.

14

Boar tusk necklace

Angami Naga, Nagaland

This attractive necklace is comprised of boar tusk and brass metal.

Three boar tusks are joined together with brass wire and cotton thread and

are attached with two brass spirals at both the ends. A coiled brass strand

joins both the ends of the necklace. The local Sonar community prepare this

necklace.

Boar tusk necklet

Ao Naga, Nagaland

A pair of boar tusks are joined to make this

beautiful necklet. Both the joining ends are decorated

with cane work and are provided with two pieces of cut

shells. Only the warriors have the right to wear this

necklet.

15

Tiger's teeth necklace

Konyak Naga, Nagaland

The Nagas of Nagaland believe that the teeth of the

tiger are associated with fertility. This stylish necklace

consists of a chain of blue and green glass beads. The

centrel part is provided with three pairs of tiger's teeth

encased in brass cases. Two brass spirals are fixed at the

two ends of the central part. The metal attachments are

prepared by cire perdue or the lost wax process of metal

casting and then by soldering. They procure the beads from

the local market.

16

Glass bead necklace

The tribes are very fond of bright

colours. They prepare varieties of

necklaces out of bright coloured glass

and stone beads. The colour composition

and the orderly arrangement of the tiny

beads prove their artistic and aesthetic

sense. Some of these necklaces are the

Gudiakula, Mathumala, etc. The glass

bead necklaces are very common among

the Nagas of Nagaland; Kukis of Manipur,

Murias, Marias of Chhattisgarh; Baigas

of Rajasthan; Lepchas of North Bengal

and Sikkim, etc. Each colour has some

symbolic significance, as red represents

the blood, a symbol of the fierce, blue

signifies the sky, white and black signify

the day and the night, yellow or golden

colour signifies the sun.

Mathumala Mathuvan, Kerala

Mathumala is an aesthetic creation of the Mathuvan tribe of Kerala.

White, red, green and yellow tiny glass beads are threaded in parallel diamond

designs like a strap. The two ends are provided with blue and white bead

strands for fastening knots. Both the men and women use this necklace.

17

4

This attractive glass bead necklace is

the pride of the Paniyas. The green, red

and the golden glass beads are interwoven

in a very stylistic way. The green and red

beads are threaded to make several diamond

shaped pieces interlocked with white beads.

Each such piece is again decorated with

three golden beads to make the necklace

more attractive and colourful. They procure

the beads from the local market and make

necklaces as per their own artistic imagination.

Glass bead necklace

Paniya, Kerala

Gasani

Bhil, Madya Pradesh

The coloured glass beads are popular materials used for crafting necklaces. These are very much

popular among the Bhils. They procure beads from local market. The intricate workmanship of threading

white and blue glass beads to jute fiber, in alternative order gives this ornament an attractive appearance.

19

Glass bead necklace

Paniya, Kerala

The artistic creativeness of the Paniyas is expressed

best through this necklace. They procure the coloured

glass beads from the local market. Three strings of

red, green and yellow glass beads in alternate sequence

are interwoven with a ring of white glass beads, which

convey the aesthetic sense and the skilled craftsmanship

of the Paniyas. Both the ends of the necklace are tied

with srtings of black glass beads for fastening.

Bead necklace

Wanchoo, Arunachal Pradesh

Wanchoos are very

fond of colourful stone bead

necklaces. This necklace is

prepared by threading orange

coloured stone beads and

shell beads in several rows.

The fastening ends are

secured with fine cane work.

Motimala Muria, Chhattisgarh

Motimala is the popular glass bead necklace

used by both the men and women Murias of

Chhattisgarh. The tiny blue, red and white glass

beads are arranged in a style that represents a

symbolic floral design. The red beads are encircled

with white beads and are interwoven with blue

beads to an intricate stylistic pattern. The whole

material is so nicely threaded as to form a necklace

that shows the artistic impulse of the Murias.

The glass beads and coins are unique combination

of neck ornament like the Mala of the Murias. They

purchase the coloured beads from the local markets

and the Sonars or the goldsmiths prepare the metal

coins. The blue hexagonal glass beads are threaded

with small white metal coins in an alternative sequence

in two rows to give an elegant look to it.

Mala Muria, Chhattisgarh

Metal necklace

Metal necklaces are of great value to the tribal communities. The

local smiths with their finer workmanship produce various types of

necklaces out of different metals and metal alloys for the tribal customers

as per their desire. The designs, motifs and the styles of the ornaments

vary according to the socio-cultural need of the tribes, living in different

eco-cultural environment. Metal necklaces are normally the chains, solid

neckbands, stringed sticks or beads, coins, engraved plaques, pendants

etc. Sometimes coloured glass pieces and stones of various colours are

embossed on the plaques, lockets of the necklaces to make it more

attractive and gracious in look. Generally copper, brass, silver, zinc and

other metal alloys are used in making these necklaces.

Various types of solid metal neckbands or collars, viz., Hansuli, Hansdi, Suta, etc., are used by the Adis of Arnuachal Pradesh, Bondos

of Orissa, Bhils, Rabari, Rathwas of Rajasthan and also by some other

tribes. Normally these neck ornaments are made of cire-perdue or lost-

wax method of metal casting. Sometimes these solid neckbands are

enriched with circular, linear, spiral and with other geometric designs.

Both the ends of the collars are provided with beautifully designed sockets

to fit the neck that serve as lockets.

Most of the tribes of India are very fond of coin necklaces. Coin

is the symbol of wealth and prosperity. Very common coin necklaces are

Putrid-Hamel, Bowel, Sakh, etc. These necklaces are made of copper,

sliver, brass and white metal coins. Generally the coins are either directly

threaded to a cord of bark or jute fiber or orderly arranged with glass,

stone or shell beads. Sometimes these coins are fixed with other decorative

pieces. The coin necklaces are common to the Marias, Murias, Bhatras

and Baigas of Chhattisgarh and Madhya Pradesh; Riang, Mog and Rankhol

of Tripura; Lepchas of Sikkim; Wanchoos, Adis, Miris, Khamtis of Arunachal

Pradesh; Santhals, Munda and Oraons of West Bengal and Jharkhand

respectively. Presently they procure this ornament from the metal smith

or diectly from the market.

A pleasant looking Saora maiden of

Orissa adorns herself with beautifully

designed white metal neck ornaments.

22

Sangriti is an exclusively designed brass necklace of the Saoras. This cute necklace is designed with small halves of brass beads intertwoven

with tinyfull beads of brass and is threaded in three rows. Each row is provided with a crescent shaped locket with engraved geometric designs. The local goldsmith makes it for the Lanjhia Saora women.

Sangriti

Lanjhia Saora, Orissa

This beautiful necklace is made by intermittently coiling copper stripes round a black cotton band. A rectangular copper interlock with engraved geometric

design is fitted to it to give the shape of a locket. The local goldsmith prepares this necklace as per

the desire of the Lambadi women. Copper neoklace Lambadi, Andhra Pradesh

23

This ia a popular

necklace of the women

Kotwalias of Gujarat.

The necklace is

provided with nine coins

and a heart shaped

locket beautified with

dotted design and

jingling bells. These are

fastened together with a

metal chain in a regular

order. They procure it

from the local Sonar

community.

Sakai Bansda Kotwalia, Gujarat

A charming Juansari girl of

Uttaranchal adorns herself with

exotic white metal necklaces. 24

Minigiakikaruri

Juansaris, Uttaranchal

It is a very popular neckband used by the Juansari women.

Five rows of hexagonal silver alloy beads are strung with oval

red glass beads in an alternative sequence. Both ends of the

neckbands are provided with decorative triangular metal pieces

to tie the cords for fastening.

25

Kanthi

Juansari, Uttaranchal

Sute is a simple and solid neckband of white

metal cast by the cire perdue method of metal casting.

There is a lock system at the centre portion. This is

decorated with coil and spiral design. The necklace is

prepared by the metal smith for their Muria customers.

Kanthi is an embellished necklace of the Juansari

women. It is created by the local goldsmith. Several

solid silver sticks engraved with diamond and ring

designs are arranged in a row and are strung side by

side very closely with a strong thread. The outer rim

of the row is fitted with six silver coins to make the

necklace that gives it an exuberant appearance.

26

Sute

Muria, Chhattisgarh

Copper necklace

Jatapu, Andhra Pradesh

This delightfully aesthetic piece of copper necklace

is the pride of the Jatapu women of Andhra Pradesh.

It is made through the cire perdue method of metal

casting by the local goldsmith. This necklace is designed

with spindle, disc, bar and barrel shaped copper pieces

threaded to a cord. The centre peice is provided with

a bunch of key like copper pieces t'ed with a ring to

express an extraordinary outward show.

Dongra is an exclusive piece of brass

girdle used by the Saora women. The Soni

or the goldsmith community make this

ornament. Small drum shaped solid brass

pieces embossed with the relief work of

fish-bone design to signify a zoomorphic

motif that make it gorgeous. Each piece

is made by metal casting in a mould and

then chiseling gives the designs. Each

such piece is provided with three loops

through which a jute thread is inserted to

secure those brass pieces. Two ends of

the girdle are joined to a brass ring. Usually

it is used in festive occasion.

Dongra Lanjhia Saora, Orissa

Coin necklace Adiya, Kerala

29

The Adiyas of Kerala love to adorn themselves

with colourful glass bead necklaces threaded with

brass or white metal coins. This necklace is made

of tiny brown and black glass beads interwoven

with six brass coins to add an attractive colour

composition to the necklace. They procure the

ornament from the local goldsmith.

Copper coin necklace

Lambadi, Andhra Pradesh

30

This excellent copper necklace is harmoniously

decorated with twelve pieces of copper coins and a

number of copper bars. A circular central locket is

embossed with intricate floral designs. Its gracious

appearance expresses the aesthetic sense of the

Lambadis who procure it from the local goldsmith.

Hansuli Vasva Bhil, Gujarat

Hansuli is a crescent shaped solid

silver alloy choker of the Vasva Bhil of

Gujarat. The broader central part is incised

with diamond shaped geometric design

crisscrossed by vertical lines. The narrower

ends are engraved with circular and fish

bone designs. Both the free ends of the

choker are narrower than the central part

and are provided with knobs. The outer

rim of the central part is ornamented with

eight pieces of coins. The Soni community

creates this gracious ornament.

31

Silver neckband Toda, Temil Nadu

it is made of heavy chunky

silver. It looks like solid neckband with

a wider central part that gradually

narrows down towards the two ends.

The central part is designed with a

solid oval spiral piece encased in two

conical spiral cases. The solid band

portion is engraved with floral and dot

motifs. The local Sonar community

prepares it.

32

■

This exotic neck ornament

expresses the symbolic cultural

value of the Koynak Nagas. The

brass head pendant symbolizes

the head hunting status. The

facial portion shows the

expression of a dead person with

closed eyes, open mouth and

exposed teeth. The ears are

ornamented with bunches of red

and black dyed animal hair. The

pendant is fastened with a string

of black and orange glass beads.

Metal pendant

Konyak Naga, Nagaland

Mala

Juansari, Uttaranchal

It is one of the very stylistic and

beautiful necklaces used by the Juansari

women. Small balls of white metal

designed with horizontal ridges are

threaded to a thick cotton cord to make

this 30 inches long necklace. The centre

locket is drum shaped. Its intricate

geometric design provides an exotic

appearance to it. They procure this

necklace from the local goldsmith.

33

Duldo Gujar, Kashmir

Duldo is a pretty silver

necklace and is the pride of

the Gujar women. It consists

of two rows of small sized

silver balls and a centrally

placed rectangular locket

with coil and geometric

designs. The necklace is

prepared by the local gold

smith.

34

Sakai Kotwalia, Gujarat

35

This is a typical necklace used by the Kotwalia

women. It is a steel chain and it's outer rim is provided

with tiny bells while the inner rim is decorated with

dotted design. The heart shaped locket is designed

with floral motif. They purchase the necklace from the

local market.

Madariya Kachhi Rabari, Gujarat

Madariya is the symbol of

marital engagement of the

Kachhi Rabari women. This

artistic necklace expresses the

aesthetic sense and skilled

craftsmanship of the local smith.

Eight brass balls and six drum

shaped brass pieces are

secured to a bark cord. The

centrally placed brass locket is

ornamented with geometric and

dot designs to make the

necklace more attractive.

Copper pendant Jatapu, Andhra Pradesh

The pendant is made of a disc of copper

alloy, encased in a serrated copper ring that is

tied with a black cotton thread. Both the male

and female Jatapus use it.

36

ACKNOWLEDGEMENT

The author is deeply indebted to Dr J K Sarkar, former Director-in-Charge,

Anthropological Survey of India, Kolkata, for his enthusiastic encouragement to steer her

thinking to complete this small volume. She owes her debt of gratitude to Dr R K

Bhattacharya, former Director, Anthropological Survey of India, Kolkata, who had entrusted

her to do this volume of work of art.

She acknowledges her sincere gratitude to Dr S B Chakrabarti, former Deputy Director,

Anthropological Survey of India, Andaman and Nicobar Regional Centre, for his valuable

suggestions and academic help.

Thanks are also due to the officials of the museum personnel of the North-Western

Regional Centre, Dehra Dun; North-Eastern Regional Centre, Shillong; Southern Regional

Centre, Mysore; Central Regional Centre, Nagpur and the Central Museum, Kolkata for their

kind help and co-operation extended to her to complete this work.

Last but not the least, the author extends her sincere gratitude to the members of the

Photography and Publication Sections of Head Office for their valuable assistance.

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